A Study On The Communication Of Chinese Films At The Tokyo International Film Festival

In the 1980 s,the aftermath of the film New Wave rippled across China,and with the ideological liberation brought about by the reform of the system,artistic creation exploded with unprecedented vigor,leading Chinese cinema onto the international stage.It was also in the late 1980 s that Japan’s Tokyo International Film Festival,Asia’s largest A-list international film festival,was officially launched,alongside prestigious international film festivals such as Cannes,Venice and Berlin.A Chinese film has won the top prize in its first competition.Looking back at the past 30 years and more,Chinese films have achieved remarkable achievements at the Tokyo Film Festival,based on the mutual advantages of geographical proximity,similar cultures and customs.In this phase of neighboring countries,they tell Chinese stories and spread Chinese culture with light and shadow,and play an important role in cultural exchanges between the two countries.On the journey of promoting film power in the new era,Chinese films should first based on the surrounding perspective,take the common historical and cultural values as the bond,explore the path of cultural transmission based on the international film competitions around the country,further build identity,and move towards a broader road of development.Based on the perspective of the surrounding communication theory,this study takes Tokyo Film Festival as a platform,focuses on the Chinese films and filmmakers that have been shortlisted and won awards in Tokyo Film Festival,combines with the three strategic echelons and circle structure framework of surrounding communication,makes classified statistics on 149 shortlisted and award-winning achievements,and explores the diversity,systematic and relevant characteristics of film peripheral communication subjects,and combines with comparative analysis.In the categories of best director,best director,best actor and other important indicators,the communication situation of Chinese and foreign films at the Tokyo Film Festival was objectively compared to dig out the advantages of Chinese films in terms of communication.Then,85 films were the subject of in-depth analysis,with text analysis used to summarize the regions,times,key plots and other subject categories of the shortlisted and winning Chinese films,as well as the different representations of characters such as women,minors and lower-class civilians.Combining the macro communication process,the award situation of medium views and the micro cultural content,this paper further analyzes the peripheral logic of why Chinese films can achieve good communication results.Finally,based on the current creative difficulties and communication needs,we propose some suggestions,such as updating concepts,exploring value content,promoting market opening,emphasizing promotion and distribution,and expanding distribution channels.Based on historical,economic,policy,institutional and other development factors,this study not only retrospects the history of Chinese films’ surrounding communication in Tokyo Film Festival in detail,but also further combines the current situation of surrounding communication in the process of Sino-Japanese exchanges,in order to provide reference for the road of Chinese films’ surrounding communication in the future.